Forgive my diversion into TV for a moment, but like a lot of you, I’ve gotten hooked on the new season of TWIN PEAKS. I coveted the silk robe Agent Cooper‘s former secretary Diane Evans wore in Part 7. Its colors and floral pattern look like something I’d wear because of my vintage sensibilities. When I went hunting for a good image of it, I stumbled across the photo of Cooper in his bathrobe in an earlier season. Again another red robe, but his looks like a Pendleton with abstract snow-capped mountains. Two red robes reflecting their wearer’s tastes and gender, but seemingly calling out to each other between seasons, symbolically marking each for the other half of the pair they once were. The more concrete print of her robe is a stronger image for a woman who wears bold clothes, maybe once simply for fashion, but perhaps now they buck her up and distract her from the bitterness and pain of her broken heart.
By msbethg in Actresses, Directors, Feud, Happy Birthday, Jessica Lange, Joan Crawford, John Waters, Series, TV Shows, William Castle Tags: actress, actresses, B, B movies, B-movie, book, cameo, camp, campy, Castle, Crawford, director, directors, Divine, Divine Trash, Dreamlander, Feud, film, filmmaking, films, FX, gimmick, gimmicks, Hagsploitation, Hollywood gothic, horror, I'm Going to Scare the Pants Off America, independent, indie, Joan, Joan Crawford, John Waters, low budget, Massachusetts, master, memoir, miniseries, movie, movie-making, movies, Odorama, Polyester, premiere, Provincetown, Ryan Murphy, shock, shockmeister, show, Step Right Up!, store, Strait-Jacket, stunt, stunts, television, thrift, TV, TV show, vintage, Waters, William Castle
I grew up in a John Waters household, so when I caught up with FEUD (2017), I was delighted to watch his cameo as shockmeister William Castle. My parents went to Waters’ movies, and my mom owns an ODODRAMA card gotten at a first run screening of POLYESTER (1981). Living in Massachusetts close enough to The Cape that Provincetown could be a day jaunt, she thinks she shopped in Dreamlander Divine‘s thrift shop, which he ran in his poor, pre-fame days. It was only a matter of time until we shared some of Waters’ movies together. I’ve now seen most of his films and read most of his books.
Which is how I know it was an honor for him to play Castle. Physically, the two men were very different. Waters has remained trim while Castle was heavier in comparison and thicker haired. FEUD show creator Ryan Murphy didn’t want Waters costumed to resemble Castle. No, fat suit as Waters said. Murphy was aware those in this know would delight in how meta it would be for Castle disciple Waters to appear as himself when portraying the other director.
If you haven’t read Castle’s memoir STEP RIGHT UP! I’M GOING TO SCARE THE PANTS OFF AMERICA, you need to. Waters wrote a loving and nostalgic introduction on how seeing Castle’s gimmicky movies as a kid inspired a love of cinema and the outrageous. There’s a joy in both directors’ works at defying convention to pursue their own visions. Keep on reading after the introduction, and you’ll learn a lot about B-movie making on shoestring budgets, including what it was like to work with Joan Crawford on STRAIT-JACKET (1964).
Happy birthday to John Waters, who doesn’t think he’s ever topped William Castle, but got to be him for a day! That must have been his best early birthday present.
By msbethg in 13 Reasons Why (2017), Anouncements, Screen Appearances, TV Shows Tags: 13 Reasons Why, Background Pedestrian, background performer, book, car, Christian Navarro, Clay Jensen, Crestmont, downtown, Dylan Minnette, extra, filmed, filming, Glorioso Casting, Jay Asher, Joy Division, Love Will Tears Us Apart, Mare Island, miniseries, movie, My Casting File, Netflix, novel, patron, red, redheads on film, scene, scenes, sequence, series, show, song, soundtrack, streaming, television, theatre, ticket, Tony, town, Vallejo, vintage, young adult
Excitement abounds at Spellbound HQ today! I found out I appear in Netflix‘s new miniseries 13 REASONS WHY (2017). It’s an adaptation of author Jay Asher‘s young adult novel by the same name. When Netflix was filming it in Vallejo, I applied to be a background performer, how the entertainment industry refers to extras.
Here’s how it worked. The casting agency for the show, Glorioso Casting, was booking extras through a website called My Casting File. I created a profile, and I applied for listed extra spots I fit the description for on days I was available. I got more than one availability request, including some I hadn’t applied for, but I wasn’t available for all.
It turns out my one day on the set was my lucky day. In the first episode about eight minutes in I appear in a sequence! My character description was “Background Pedestrian,” but I perform a role quite familiar to me. I’ve posted screenshots below for you to see my scenes in context.
So there it is! My first non-credit for appearing in a TV show or movie. I hadn’t read the book, so I didn’t know the importance of the movie theatre to the story’s plot or how I lucked into a likely featured moment.
I’ll be watching more of the series and having fun spotting other locally shot scenes. I’ve already seen a lot of Vallejo and my former neighborhood Mare Island. This is a nice coda to my time living there.
By msbethg in Actresses, Bette Davis, Costume Designers, Costuming, Genres, Movies, Of Human Bondage, Orry-Kelly, Series, Susan Sarandon, TV Biopics, What Ever Happened to Baby Jane?, Women He's Undressed 2 Comments Tags: actress, actresses, Baby Jane, Baby Jane Hudson, Bette, Bette Davis, bra, braless, bras, brassiere, brassieres, buttons, child star, costume, costume designer, costume supervisor, costuming, Crawford, Davis, documentary, Feud, foulards, FX, Gillian Armstrong, gothic, Hollywood, Hollywood gothic, Jane Hudson, Joan, Joan Crawford, Mildred Rogers, miniseries, Of Human Bondage, Orry-Kelly, pockets, premiere, red carpet, show, suit, Susan Sarandon, television, The Calling, TV, TV show, underwire, uniform, What Ever Happened to Baby Jane, Women He's Undressed
FEUD premieres tonight on FX, and like many classic film fans, I’m watching to see how legends Bette Davis and Joan Crawford are portrayed, and I’ll be paying particular attention to one area of costuming.
Susan Sarandon plays Davis. The latter actress, while capable of glamour and being beautiful onscreen, always favored her performances over the strictures of the star machine that led more wary or canny actresses to compromise on characterization in favor of not lowering beauty standards too far. Davis felt no restriction. She wanted her Mildred Rogers in OF HUMAN BONDAGE (1934) to look as sickly as possible when the script called for that, and she pushed for her WHAT EVER HAPPENED TO BABY JANE? (1962) costume to be more extreme than as originally designed.
Sarandon has shown a willingness to deglam onscreen for the right roles, but offscreen she’s been a poster girl for not looking her age or letting it determine whether she should be sexy on the red carpet and how. A favorite outfit of hers to wear to movie launches, so much so it’s almost a uniform, is a suit with no shirt worn underneath its jacket, often leaving a pretty bra visible for all to see. If her bra isn’t in view, its push-up effects leave no doubt of its presence.
I’m finding it ironic that an actress sartorially famous for her bras and gravity defying chest is playing one who eschewed underwire bras, despite being as generously endowed. As the recent Orry-Kelly documentary, WOMEN HE’S UNDRESSED (2015) revealed Davis was convinced wearing underwire caused breast cancer. The costume designer was left having to camouflage that the leading lady was undersupported or braless by “using foulards, pockets, buttons, and other visual tricks.”
So while I’m watching FEUD, I’m going to be looking at Sarandon’s silhouette to see if series costume supervisor Katie Saunders incorporated this particular quirk when approving designs. Like Davis knew, it’s paying attention to the little details that help a performer build and inhabit a character.
By msbethg in Actresses, Fifi D'Orsay, Holidays, Thanksgiving Tags: actress, Broadway, Canadian, Canadian actress, Canadian actresses, Fifi D'Orsay, film, Follies, Follies Bèrgere, French persona, French-Canadian, grateful, Greenwich Village Follies, holiday, holidays, Mademoiselle Fifi, Marie-Rose Angelina Yvonne Lussier, movie, movie theater, movie theatre, musical, ou-la-la, ou-la-la girl, pseudo French, publicity, publicity still, showgirl, Solange LaFitte, Sondheim, stage, Stephen Sondheim, television, Thanksgiving, The French Bombshell, theater, theatre, TV, vaudeville
Things have been hectic at chez Spellbound. We’re moving! As I pack today, my husband’s been cooking our Thanksgiving dinner. While we hadn’t planned to move yet (our landlords are resuming occupancy of our apartment), something stressful has turned into a blessing. We’re relocating to a cool, new home–a loft on the second story of what used to be a movie theatre. We’re grateful for the family and friends who have been supportive through all parts of this process, and we can’t wait to settle into our new home.
I, also, can’t wait to take our turkey out of our oven like Fifi D’Orsay above. Marketed “The French Bombshell,” D’Orsay never set foot in France. She was born in Montréal, and her real name was Marie-Rose Angelina Yvonne Lussier. D’Orsay was clever. When auditioning for the Greenwich Village Follies, she sang her song in French to make herself stand out. She reinvented herself as an ex-Follies Bèrgere showgirl, and the Parisian persona stuck! Her career stretched from vaudeville to Hollywood movies to television to a final return to the stage, only on Broadway. She played Solange LaFitte, a former Follies star, in the Sondheim musical, FOLLIES. A perfect role to cap her career!
While I eat my meal tonight, I’ll take a moment to think of D’Orsay. I’m inspired by her ingenuity and drive, and those are traits I’ll call upon as Hubbs and I make a new home.
By msbethg in Anita Loos, Holidays, International Women's Day, Screenwriters, Women Screenwriters Tags: #IWD2016, Anita Loos, Brownlow, Clare Boothe Luce, comic, Diamonds Are a Girl's Best Friend, documentary, Douglas Fairbanks, F. Scott Fitzgerald, female, film, films, flapper, Gentlemen Prefer Blondes, H.L. Mencken, Helen Hayes, HL Mencken, Hollywood, Hollywood: A Celebration of the American Silent Film, humorist, International Women's Day, intertitle, Intolerance, It, John Emerson, Jule Styne, Kevin Brownlow, Lillian Gish, Lorelei Lee, Mencken, movie, movies, novel, quotation, quotations, quote, Reaching for the Moon, Ruth Gordon, San Francisco, satire, satirist, scenario, scenarios, screenwriter, screenwriters, screenwriting, series, silent, Silent Film, silent films, silents, sound, talkies, television, The Women, TV, woman, women, writer
She started screenwriting in the silent era, and she’s credited for elevating the intertitle beyond the functional into an art form. A wordsmith, wit, and satirist, her intertitles had zing. Yes, they had “It.” It’s likely her exposure to the family tabloid and her own newspaper writing made her value succinctness. Would it be even more of a stretch to suppose that this early education schooled her in the art of equivocal, particularly innuendo? She could write a line explaining a scene and poking fun at a star’s persona. When describing yet another one of Douglas Fairbanks‘ characters designed to show off his athletic prowess, she wrote he had “a vaulting ambition which is likely to o’erleap itself and fall on the other side.” She was getting meta before that became a thing!
She had an aversion to societal hypocrisy and the pitfalls of her sex, threads that run through her work, like in this line from Intolerance (1916): “When women cease to attract men they often turn to Reform as a second choice.” Instead she had a fondness for hustlers, loose women, and other characters usually viewed as disreputable undesirables. Exposure to San Francisco’s Barbary Coast and piers, when accompanying her father on drunken wanderings and fishing trips, gave her a glimpse of those types at a young age, and she never lost her fascination for them, and they populate her work.
The most famous example is Gentlemen Prefer Blondes‘ Lorelei Lee, a ditzy, gold digging flapper. Loos wrote the comic novel as an act of revenge. She was tired of seeing her male intellectual friends (and crushes like H.L. Mencken) fall for women with more “downstairs” than upstairs. Despite Loos’ upset over the inspirational situation, there’s an admiration for Lorelei’s wiles and ambition. Loos was a hard worker, and so was her creation, who through her kooky logic and machinations ultimately wins.
Despite a disastrous love life that included marriage to a controlling, abusive, narcissistic, spendthrift schizophrenic, she kept working and didn’t turn to drink or idleness unlike other contemporaries. She survived film’s transition into sound writing more screenplays and expanded her oeuvre to include additional novels, (likely fictionalized, but so much fun to read) memoirs, Hollywood biographies, and Broadway.
She even became a script doctor. My favorite example of this was her being called in to work on a property other male writers, like F. Scott Fitzgerald, couldn’t get right. They couldn’t relate to the source material. Fitzgerald thought it “a spiteful portrayal of femininity.” Loos loved the Clare Boothe Luce play. Loos was very familiar with its subject matter, an exposé of the cattiness, gossip, men-stealing, and gold digging of Park Avenues socialites and the wannabees. She delighted in dishing on what occurs behind the scenes in women’s spaces. She turned out a script in three weeks that remains a classic beloved for its zingers to this day–The Women (1937).
When she died in August of 1981, her drive resulted in a body of work spanning about 65 years. She remained a celebrity. The gamine, 4’11’ girl with the pixie cut had aged into a grande dame of the New York social scene, active and vibrant close to her end. She frequented the party, fashion, and arts circuits. She enjoyed being among the surviving few of the silent era able to share what ever stories she remembered or fabricated. Film historian and preservationist Kevin Brownlow interviewed her for his television documentary series Hollywood: A Celebration of the American Silent Film (1980), and he must have had a fun time sorting fact from embellishment. “At the memorial service, friends Helen Hayes, Ruth Gordon, and Lillian Gish, regaled the mourners with humorous anecdotes and Jule Styne played songs from Loos’ musicals, including “Diamonds Are a Girl’s Best Friend.” The storyteller would live on in others’ tales and through her work.